The literalness of Glenn Kaino’s recent work is surprising. His midcareer retrospective “A Shout Within a Storm,” on view through April 22, includes the work The Winds of Revolt (Selma) 2, 2016, in which Kaino has rendered in charcoal on a waxed paper ground an iconic 1965 photograph of Martin Luther King Jr., Coretta Scott King, and other civil rights leaders marching arm in arm. Heat applied to the upper part of the composition has caused wax to drip down, partially distorting the image. In The Past Has Not Yet Happened (Panama), 2017, Kaino used a tactile alcohol transfer process to degrade the appearance of an antique map. There is no missing the point of these heavy-handed exhibition didactics: Don’t allow past social-justice strides to fade, The Winds of Revolt seemingly insists; geopolitical boundaries are violently wrought, The Past Has Not Yet Happened ostensibly contends.
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